At the End of All Things
by Findegil
Summary: [My hard drive died, so it's taking longer than usual for me to update. Sorry!] I'm writing this story because I was annoyed the last two Pretender movies never got made. Thus, it is in the form of a screenplay for the last two movies, and how I've wanted
1. Chapter 1

Scene 1

Exterior shot of an old house. Interior shot with MISS PARKER looking through the empty rooms on the 2nd floor. She holds her gun warily in front of her and stands still in the doorway of one room, half in it, half in the hallway which leads to the staircase. There is the sound of a multitude of voices (in her head) and she swiftly turns, stalks down the hall, and comes upon JAROD, who is about to step up into the hall. MISS PARKER seems both pleased she has discovered him (as JAROD normally creeps up on her unexpectedly) and highly agitated.

MISS PARKER  
Creeping around as usual?

JAROD  
This time, you ran and I followed.

MISS PARKER  
(stepping closer, so that her gun is inches away from him)  
I personally dislike stalkers.

JAROD  
(looking level into her eyes, as he is on the stair below her)  
You won't shot me.

MISS PARKER  
(puts her gun to his head)  
There _are_ real bullets in this gun. You haven't taken them out.

JAROD  
(smiles)  
Not this time.

MISS PARKER  
Glib in the face of death. How quaint.

(Their faces are inches away from each other.)

JAROD  
I know you won't shot me.

MISS PARKER  
(sneers)  
Yes, you keep saying that.

They have not broken eye contact this whole time. Slowly, Jarod reaches up, and touches her hand holding the gun to his temple. Miss Parker immediately sees a flashback of every encounter she has had with Jarod, melded into a flurry of images and sounds. It nearly consumes her. She shudders, and in doing so, lowers her eyes.

JAROD  
(calling softly, as if from a long way away)  
Miss Parker…

Her eyes snap back to his, and he just stands there, looking at her. She looks puzzled he has not disappeared, or grabbed her gun, or tied her up, or something of the sort. Jarod slowly touches her hair where it meets her chin with his other hand. He comes closer, and their lips are nearly touching.

Miss Parker sits up in her bed, grasping the sheets as if to mentally steady herself. There is profound relief etched in her face as she realizes it was only a dream. Her phone rings. She picks it up.

MISS PARKER  
(angrily)  
What?

JAROD  
(a bit surprised she is fully awake)  
No sweet dreams tonight Miss Parker?

MISS PARKER  
(laying back on her pillows, but still stiff and the annoyance shows in her voice)  
Not dreams. Nightmares.

Jarod is walking down a dimly lit street, carrying a cell phone.

JAROD  
(teasing her)  
Dreams are said to mirror your subconscious desires and fears. I would say the same thing about nightmares.

Miss Parker listens, and is visibly more agitated with the mention of her 'desires'.

MISS PARKER  
(sarcastically)  
Thank you, Dr. Freud. Can we cut to the part where you tell me _why_ the hell you're calling me in the middle of the night?

JAROD  
(somewhat amused that what he has said agitated her so much)  
I found something out about what my—our—mothers were planning before Catherine died.

MISS PARKER  
(sits up excitedly)  
What?

JAROD  
(dramatic pause)  
Ruin.

MISS PARKER  
Ruin…sounds ominous…another Centre project?

JAROD  
Possibly.  
(imitating Miss Parker)  
Get Broots 'on it'. Hopefully for you he figures it out quickly.

MISS PARKER  
I swear Jarod, some day…

JAROD  
(interrupting)  
You'll have _me_ all figured out.  
(cheerful)  
Until then, rest and get some beauty sleep!

The line goes dead.

MISS PARKER  
(still talking into the phone and finishing her sentence)  
Some day, I damn well will kill you.

CUT SCENE

-----

LYLE is in RAINES'S office.

LYLE  
Is everything ready?

RAINES  
How do I know you won't double-cross me again?

LYLE  
Mr. Parker is dead now.

RAINES  
So we think.

LYLE  
Getting Jarod to co-operate, now that's the real challenge.

RAINES  
It's easier than you think.

Lyle just looks at Raines, waiting for an answer.

RAINES  
We threaten to kill someone he cares about.  
(Raines pauses.)  
Someone he cares about—at the Centre.

Lyle looks intrigued.

CUT SCENE


	2. Chapter 2

Two days before Jarod's conversation with Miss Parker. Exterior shot of Sunny Hills Assisted Living. Interior shot of Jarod—as a male nurse—walking into the 'recreation' room for the seniors, looking pleased with himself. The seniors are mostly seated around the TV watching _Jeopardy_.

CONTESTANT  
French literature for 2000.

ALEX  
First started in 1845 and left unfinished in 1848, this novel eventually became Victor Hugo's famous _Les Misérables_.

JAROD  
What is _Miséres_.

CONTESTANT  
What is _Miséres_?

ALEX  
Correct.

SENIOR 1  
Jarod, you should really go on this show. You'd win a lot of money.

SENIOR 2  
(cheeky)  
And you could give some to us!

JAROD  
(smiles)  
Maybe someday.  
(addresses the group, as the show has gone to a commercial)  
You don't have to worry about paying your rent anymore. I fixed it.

SENIOR 2  
But Mr. Henderson would never agree to fix our apartments.

JAROD  
Let's just say Mr. Henderson probably won't be working here anymore.

SENIOR 3  
That guy always gave me the creeps. Too oily. I told my son I didn't  
want to come here. He said I was crazy. (snorts) He's the crazy one.

Jarod smiles and starts to leave the room. As he walks to the door, an old lady sitting near a window knitting looks at him. He passes her.

LORAINE  
You better watch out. They'll catch you someday.

Jarod stops abruptly, and hurries back to her. He searches her face. She looks at her knitting.

JAROD  
Who will catch me?

LORAINE  
The ones chasing you. I know.  
(pause)  
They chase me too. I had to hide here.

JAROD  
(earnestly, as he sits down)  
I can help you.

LORAINE  
Can you now? A young smart man like you?

JAROD  
You can trust me.

LORAINE  
I'm sure I can't.

Jarod doesn't reply to this. He's a bit surprised. (For some reason, there aren't many people who distrust Jarod.)

LORAINE  
(unconcerned about Jarod's silence)  
You're not like the sweepstake people though. Or the charities. Always wanting money, but never spelling my name right.

JAROD  
I would never do that.  
(teasing)  
I'm an excellent speller.

LORAINE  
(ignoring him)  
Or the place I worked for once. You couldn't trust anyone.

JAROD  
(trying to gain her trust)  
Where did you work?

LORAINE  
Blue Cove, Delaware.

Jarod looks momentarily concerned, but is still composed.

LORAINE  
There were a lot of people there. Always a lot of people. kids, adults, babies—always running around, working, working…

JAROD  
Where you at the Centre?

LORAINE  
Lots of spiders there. Always having to clean the spiders. And papers too.

Jarod looks a bit puzzled at this. The Centre, in his mind, is not a place that breeds spiders.

LORAINE  
(gets to the end of her row, and stops knitting)  
I've been cleaning them forever it feels like. They're even here. I find them everywhere. Like those sweepstake letters.  
(whispers confidentially)  
You know, they track those letters. You send them back, but they just keep coming. Always the same. They never spell my name right. You never know when you'll win.

JAROD  
I hope you don't give any of them money.

LORAINE  
I don't think so…  
(trails off)

JAROD (tries again)  
About the Centre…

LORAINE  
(interrupting)  
They get everyone in the end. They'll get you too. They find the smart ones.

A nurse walks up.

NURSE  
Ok, Loraine, it's time for you to take your medicine.

LORAINE  
I just took it.

NURSE  
That was yesterday.

LORAINE  
I only take it once a day.

NURSE  
(speaks as if she's heard this many times)  
Yes, now here's the pill and some water.  
(sets down cup)

Loraine takes the medicine, and Jarod stands up to leave, as the nurse is still hovering over them.

JAROD  
(puts his hand on Loraine's shoulder)  
I hope you get some rest…from the spiders.

LORAINE  
(sniffs, and puts her hand on his)  
They'll hear you. Keep quiet.

NURSE  
The spiders can't hear you Loraine.  
(she walks with Jarod out of the room)  
She has fairly severe Dementia.

JAROD  
How long has she been here?

NURSE  
Oh, I don't know. I haven't worked here very long. Mr. Henderson saw that the staff changed fairly regularly.

JAROD  
What did she do before she came here?

NURSE Before she retired?  
(Jarod nods)  
She was just part of a night cleaning staff at some company. Or so she says.  
(she stops and says in an undertone)  
Don't believe all her stories about this 'Centre' she worked for…I mean, come on, what kind of place has no name but The Centre?  
(she walks away)

JAROD  
(holds up a folded piece of paper Loraine slipped into his hand)  
A place you never want to work for.

CUT SCENE

Present. The Center. An elevator opens, and Miss Parker stalks into the reception area. Sydney and Broots are standing together, and as Miss Parker passes them she motions for them to follow her. Interior shot of the three of them entering her office.

MISS PARKER  
Sydney, did my mother ever mention a project called Ruin to you?

SYDNEY  
No.  
(pause)  
What is it?

MISS PARKER  
I don't know.  
(She looks attentively at Sydney, as if suspecting he knows more than he ever says, then abruptly turns to Broots.)  
Broots, get on…

She looks as if she has just remembered Jarod's impression of her on the phone, and doesn't like it at all. Broots and Sydney exchange glances, and you know they're thinking, 'what is this—sudden mood swings?' They don't know what's going on, and it disturbs Sydney. Broots is just faintly scared of what will happen next (will she fly into a rage next)?

MISS PARKER  
Just go find out anything there is to know about Ruin.

BROOTS  
Ok…

CUT SCENE

One day before Jarod's conversation with Miss Parker. Exterior shot of a quaint neighborhood. Jarod looks at the unfolded paper Loraine gave him. He walks up to the gate of the white picketed fence surrounding a white two-story house. A boy is revealed, riding his bike on the walkway from the porch to the gate.

JAROD  
Hello.

BOY  
I'm not supposed to talk to strangers. My grandma told me.

JAROD  
I understand. I think I know your grandma.

BOY  
(looking at the paper in Jarod's hand)  
She told me people would come looking for her. Are you looking for her? Dad took her away one day, and wouldn't tell me where. He said she was sick. He didn't believe her stories.

JAROD  
(notices the boy is staring at the paper)  
I'm not looking for her. She gave me this.  
(shows the boy the paper)

BOY  
(takes the paper and looks at it, satisfied that it's his Grandma's handwriting)  
I still can't tell you. She told me not to.  
(he hands the paper back to Jarod.)

JAROD  
(while folding the paper)  
Why?

BOY  
I can only tell a lady.

JAROD  
(looks like he guesses who before he asks the question)  
Do you know her name?

BOY  
Yes.  
(pause as he's remembering)  
Grandma said I can only tell Miss Parker.

CUT SCENE


	3. Chapter 3

The present. Night. Miss Parker's house. Shot of Broots slightly hesitant on whether to knock on Miss Parker's door. He finally decides to do so. Eventually Miss Parker opens the door.

BROOTS  
Oh, you're still up. That's great.

MISS PARKER  
(sarcastically)  
Yes Broots, I'm burning the midnight oil.

BROOTS  
Right.  
(pause)

MISS PARKER  
(impatiently)  
Well?

BROOTS  
You probably don't want to hear this.

MISS PARKER  
No I don't. I want to go to bed. In fact, I want to have one night without nightmares, phone calls, or visitors.

BROOTS  
(not really understanding the nightmare or phone call comment)  
Sorry.

MISS PARKER  
Please give me one good reason not to slam the door on your sorry face.

BROOTS  
I looked in the computer files and there's nothing on Ruin.

MISS PARKER  
Not a good enough reason…

BROOTS  
(hurrying)  
I also talked to Evan, down in Communications today. He didn't know anything about it either, but told me he'd talk to his co-workers.

MISS PARKER  
Again, not a good reason…  
(starts to close door)

BROOTS  
He got back to me and said no one he knew had any idea about the project.

MISS PARKER  
This conversation is going nowhere.

BROOTS  
(tries to ignore her)  
I even hacked into Mr. Raines's email account, but there wasn't anything there either.

MISS PARKER  
Ok then. Goodnight.  
(slams door)

BROOTS  
(talking to the door)  
And then I thought, there's no record of Ruin. What if it isn't an official Centre project? And then I thought, if it's about your mother, she must have left something behind that I can't figure out. And I realize that it could be in your mother's old office. That's where I found this.  
(shoves a folder under Miss Parker's door)

No response from Miss Parker's side of the door.

BROOTS  
Ok. Hope you feel better tomorrow.  
(pause)

Interior shot of Miss Parker perusing the folder.

BROOTS  
(just his voice from outside the door)  
Not that you were sick today or anything.  
(another pause)  
I know it just looks like random numbers, but I think it has to do with a security feed on one of the sub-levels.

MISS PARKER  
(annoyed he's still there)  
_Goodnight_, Broots.

The contents of the folder are revealed. In it is a single piece of white paper, which is handwritten on in black ink a string of numbers, headed by the single word RUIN at the top. Miss Parker pours herself some alcohol, and sits down with the paper in front of her on the table. She takes a sip, and looks resigned to the fact that she won't be getting much sleep again.

CUT SCENE

The Same night. Scene shifts to Jarod's 'lair'. He's fiddling with some electrical equipment. Next, he picks up a place on the coffee table from where he's sitting on the floor, and and picks up two pieces of bread. One has peanut butter and bananas on it, and the other is plain. He carefully puts the plain side on the buttered side, and takes a big bite. The TV is on, and there's a 'got milk' commercial on, so he stands up, goes to the kitchen, and mumbles 'I'vgomik' before he takes a sip. Then he comes back, sits down, and starts pushing in the plastic pins for a lite brite. He's already got an 'M' in pink and 'I' in orange, and now he's starting on the 'S'--in blue.

CUT SCENE

Next day. The Centre. Lyle and Mr. Raines greet a member of the Triumvirate. They head towards Lyle's office.

LYLE  
Everything is just as we discussed before.

TRIUMVIRATE MEMBER  
I'll see to it that the necessary plans are given to you both.

MR. RAINES  
(He looks at Sydney as they pass him)  
We won't have any trouble with the… victim.

LYLE  
I'll make sure of that. Best not to go calling him that. I would say, 'subject' or 'case study'.

MR. RAINES  
(dismissively)  
Call him what you like.

TRIUMVIRATE MEMBER  
And Mirror?

MR. RAINES  
All taken care of, as we said before.

Sydney keeps watching them after Mr. Raines's look, and when they disappear into Lyle's office, he walks over to Broots. Broots looks as if he's had a long night of research, and is drinking coffee to wake up.

SYDNEY  
Broots, I need you to find out what Lyle and Mr. Raines are up to.

BROOTS  
(dismissively)  
Miss Parker will kill me. I have to find out what those numbers mean.

SYDNEY  
I think they're planning to do something big—and potentially harmful to one of us.

BROOTS  
(sighs)  
If you explain to Miss Parker…

SYDNEY  
I will. Don't worry.

Both look up and see Miss Parker coming towards them. She looks much better than Broots does after a sleepless night. Broots scuttles away before she reaches them.

SYDNEY  
Mr. Raines and Lyle are planning something. I asked Broots to try and find out what it is.

MISS PARKER  
It's always wise to keep close tabs on the Odd Couple.

SYDNEY  
They met a member of the Triumvirate just now.

MISS PARKER  
(walking to her office)  
Broots better find out what it is quick. I need him to figure this out.  
(she holds up the file Broots gave her as she opens the door to her office.)

SYDNEY  
(taking the file and opening it)  
This is strange.

MISS PARKER  
What?

SYDNEY  
It's not your mother's handwriting.

MISS PARKER  
Of course it is.

SYDNEY  
(examining it closely)  
It's different.

MISS PARKER  
Did they teach you handwriting analysis in psychologist school?

SYDNEY  
This top word is hers, and so are some of the numbers…but not all of them.

MISS PARKER  
Number analysis then? I didn't know you were a mathematician.

SYDNEY  
Here  
(he points)  
She never did her 9's that way. Ever.

MISS PARKER  
Do you know what the numbers mean? Is it a code?

SYDNEY  
I don't think so. It's a bit too short for a proper code.

MISS PARKER  
Broots thinks it could be a security feed number.

SYDNEY  
It might be.

MISS PARKER  
You don't think so?

SYDNEY  
All I know is, your mother and _another_ person wrote this file. Both with the same ink, so probably at the same time.

MISS PARKER  
(thinking out loud)  
My mother…and Jarod's mother…

CUT SCENE

Exterior. Early Evening. Shot of the traffic on the city streets. Miss Parker is driving home from work, but the street she's taking doesn't have many cars on it. A bus is a few cars in front of her. She glances at it, and the neon lights flash 'sorry' and then 'not in service'. As her car idles at a stoplight, the lights on the screen now flash 'hello Miss Parker' and then 'not in service'. Her eyes widen, and she slightly shakes her head—wondering whether it's just too late and she's seeing things. She keeps staring at the lights though.

They flash 'sorry', then 'it's Jarod'. Now she knows she's not seeing things.

The message continues: 'not in service—Ruin: 167—sorry—East Poplar—not in service—love Jarod'.

There is a green light, and the bus turns left. Miss Parker vainly tries to follow it, but the turn signal goes red far before she can get there. She looks left as she goes through the intersection, and sees

'Sorry—not in service—have a nice day—sorry—Miss Parker—not in service'.

MISS PARKER  
Unbelievable.  
(she picks up her cell phone)

Shot changes to the bus, where Jarod is driving. He smiles to himself, and looks in the rearview mirror.

CUT SCENE

Exterior shot. Day. Miss Parker is walking the same route Jarod did to visit the boy. She comes to a large hedge separating the boy's house from the others. Jarod steps out from behind it.

JAROD  
So, you found this place… and me.

MISS PARKER  
(holding her gun ready to shoot him if he runs away)  
I can do my own digging on occasion. You'll find me up for sale on the "GeeksRus" website.

JAROD  
(apprising her up and down with his eyes)  
I'm sure you'd fetch a pretty sum on eBay.

MISS PARKER  
And I would ban you from ever bidding on me.

JAROD  
(serious now)  
I'd never want to own you, Miss Parker.

MISS PARKER  
(outwardly joking, but inwardly serious)  
You wouldn't pay enough for me.

JAROD  
(pushing her more)  
You think so highly of yourself?

MISS PARKER  
(sarcastic)  
I don't think I'm some Turkmenistan rug, Elvis collector's place, or faux Chippendale end table, no.

Jarod doesn't get it. He just looks at her, wondering how she's suddenly been contrasted with an end table.

MISS PARKER  
You haven't been to a flee market yet, have you?

JAROD  
I once worked at a flee circus.

MISS PARKER  
(after a pause)  
It's frighteningly similar, now that I think about it.

CUT SCENE

Broots is lurking near Lyle's office, trying to loiter without looking like he's loitering. It's not working very well. He gets a flash of inspiration, and cautiously looks to see if the office next to Lyle's is occupied. It luckily isn't, and he hurriedly closes the door. He goes up to the wall separating the offices, and puts his head to it.

LYLE   
(in the office, sitting in his chair)   
When we take over the Centre, I'm going to strangle that guy myself.

MR. RAINES   
It would not be wise now.

LYLE   
I didn't threaten him…that much.

MR. RAINES  
You'd best be careful. Remember, there's always plots within plots here.

LYLE  
Oh, I don't actually know who's paying the Centre to do this, but I can make a fair guess. Who else wants that much blown up?

The scene shifts to Broots who unfortunately can only hear mumbling. He looks up, wondering how he can hear them better. His eyes lock on an air vent, fairly high up on the wall. He gets a chair, stands on it, and unscrews the cover (as he was installing some computer hardware earlier, he has a screwdriver). When it opens, he stifles a cry of shock. Perched further on in the vent listening is Angelo.

CUT SCENE 

Exterior. Day. Resuming the conversation with Jarod and Miss Parker.

JAROD  
Miss Parker, I don't think he'll tell you anything if you have that gun pointed at me.

MISS PARKER  
Who?

JAROD  
Put the gun away and I'll show you.

Miss Parker thinks, but her curiosity gets the upper hand and she puts the gun away. Satisfied, Jarod walks down the sidewalk and stands where he did before next to the gate of the picket fence. The boy is there again; it's almost as if he hasn't ever left.

JAROD  
Hello again.

BOY  
Hi.  
(looks at Miss Parker)  
Who're you?

JAROD  
This is Miss Parker.

BOY  
(still staring at Miss Parker)  
How do I know she's really Miss Parker? Grandma said to make sure.

MISS PARKER  
(giving him a fake smile which is almost a sneer)  
What a bundle of joy you are!

BOY  
You're not so happy yourself.

Miss Parker is momentarily abashed, for what he says is frighteningly true. She doesn't respond.

JAROD  
(addressing the boy)  
I know her.  
(looks at Miss Parker)  
This is definitely Miss Parker.

Miss Parker shoots Jarod a look of revulsion.

BOY  
(still looking at Miss Parker)  
Got some ID?

JAROD  
(looking at the boy again)  
Now, you're just making things difficult aren't you?

Now the boy doesn't respond. In fact, he makes as if to turn his bike, and prepare to head back up the sidewalk to his front door.

MISS PARKER  
Ok, ok.  
(gives him a card)  
This better be good.

BOY  
(examining it)  
How do I know this isn't fake?

MISS PARKER  
Get talking, bike boy, or I'll…  
(the boy looks into her eyes, and she trails off. She's hearing faint sounds from somewhere far away.)

BOY  
(handing back the card, and never breaking eye contact)  
9780140444308…

MISS PARKER  
Excuse me?

BOY  
…91401.

MISS PARKER  
That's it?

The boy just turns and rides away from them.

JAROD  
(cheerily)  
Bye!

The boy puts up his right hand over his shoulder and waves without looking back.

MISS PARKER  
Didn't know my Mom was such a big fan of numbers.

JAROD  
Numbers are sometimes harder to interpret than letters…  
(thinks a bit and smiles)  
but sometimes they become simple if you know what they are meant to represent.

MISS PARKER  
You know what they mean, don't you.

JAROD  
I have a guess.

MISS PARKER  
(thinking out loud)  
Almost exactly like the numbers on the file…

JAROD  
What file?

MISS PARKER  
(snapping back to the present)  
None of your business. I'm sure I wouldn't be here if the kid hadn't refused to talk to anyone but me.

She looks beside her for Jarod. Miss Parker looks annoyed he isn't around to suffer further abuse from her. He has eluded her yet again.

CUT SCENE


	4. Chapter 4

The Centre. Day. Broots stands looking at Angelo. He seems to be pondering whether or not he's dedicated enough to Sydney and Miss Parker to dare crawl into such a tight space. He wavers, then climbs in. Angelo motions for him to be quiet. Broots nods vigorously. There's nothing he would do (of his own volition) that would allow them to be discovered in such a place. They crawl a bit, turn, then listen. A shot from their air vent shows they can see into Lyle's office.

LYLE  
(on the phone)  
Yes, I'll tell them. Uh-huh.

RAINES  
This is not the time for chit-chat.

LYLE  
Right. Talk to you later.  
(puts down the phone)  
You know, it's rude to talk to someone when they're on the phone.

RAINES  
(ignoring him)  
Mirage hasn't been found yet.

LYLE  
You mean Ethan don't you? Come on, you should be on first name terms with your failed "project". (looks at his fingers) Give me one good reason why Jarod can't just do it.

RAINES  
Formidable as Jarod is, there's too many for Jarod to do it alone. They have to be planted and set off simultaneously at the New York Stock Exchange, the Pentagon…

Shot of Broots, looking really scared now.

LYLE  
Pretty eclectic collection of places...you'd assume they'd have given up on the Pentagon after the last time.

RAINES  
You'd think…unless someone wanted to pin the attacks on them.

LYLE  
They are convenient scapegoats. Interesting…

RAINES  
Sydney knows nothing about this? For all he's worth, I'd still question his…loyalty.

LYLE  
He doesn't know a thing. Neither does my…sister.

Angelo pinches Broots, and he yelps. Lyle and Raines look at each other, but do not know where the sound has come from. Lyle gets up and goes out of his office to check if someone's out there. When he doesn't appear, Raines leaves as well.

BROOTS  
(whispering, though he doesn't have to)  
Why did you do that?

ANGELO  
Jarod's in trouble.

BROOTS  
What about me? I could get in really big trouble! I'm more afraid of Mr. Lyle than Miss Parker.

ANGELO  
So is Sydney.

BROOTS  
Ok. Let's just get out of here.

Angelo moves away down the vent rapidly. The vent narrows. Broots tries to follow, but gets stuck.

BROOTS  
Angelo!  
(struggles)  
Come back!  
(struggles some more)  
Great. I'm stuck. This is fantastic.

CUT SCENE

Night. Interior of Miss Parker's house. Miss Parker is sleeping soundly, since she hasn't had much for the last few days. Slowly she stirs, as there is a steady knocking. She tosses, groans, and is suddenly wide awake. She sits up, reaches for her gun, and walks over to her window. She pulls up the blind.

JAROD  
Hello Miss Parker.

MISS PARKER  
How dare you…To hell with the Centre. I'm just going to shoot you.

Her gun clicks. She doesn't seem too surprised, and rolls her eyes. She opens the window.

JAROD  
Sorry.

MISS PARKER  
(shooting a glance at the gun)  
Why do I even have a gun if it's never working?

JAROD  
I took the bullets out again while you were sleeping.

Miss Parker looks annoyed.

JAROD  
You still drool. It's kinda cute.

MISS PARKER  
(incredulous at his last statement)  
What do you want? Why you didn't just sneak around my house, get what you wanted, and leave?

JAROD  
That would be rude!

Miss Parker and Jarod just look at each other—Jarod with amusement, Miss Parker wondering if he's crazy, as he's already been in her house that night without having any qualms.

MISS PARKER  
You know, you're insane.

JAROD  
Now who wants to be sane?

MISS PARKER  
Not you, that's for sure.

It starts to rain. Jarod is rapidly getting drenched.

JAROD  
You asked me what I wanted. I want your help.

MISS PARKER  
You don't need it.

JAROD  
Maybe not.

Miss Parker and Jarod continue to appraise each other.

JAROD  
Can I come in?

Miss Parker leans against the wall—coming closer to scrutinize him. There's water droplets making rivulets down his face, and the rain makes him look like he's been crying. A few tense seconds pass.

JAROD  
(breaking the silence)  
I actually quite like getting wet in the rain.  
(looks up into the rain)

Her reverie struck through for the moment, Miss Parker gestures for him to come through the window. Jarod climbs in.

JAROD  
(shaking his head)  
Wow.  
(he laughs, looking at the puddle of water he's brought into the room)

MISS PARKER  
(appraising him)  
You look like a drowned rat.

JAROD  
(he smiles)  
I do?

MISS PARKER  
(handing him a towel)  
It's not a compliment.

JAROD  
(toweling his hair)  
I didn't say it was a compliment.

MISS PARKER  
You implied it was.

JAROD  
(raises his eyebrows)  
How do you know what I'm implying? Can you read me that well?

MISS PARKER  
Your idealized "heroic" persona is not hard to figure out.  
(she starts to walk out of the room)

JAROD  
And neither is your bitter, misanthropic personality.

Miss Parker stops abruptly. She turns around and comes close facing him.

MISS PARKER  
(looking up at him)  
Do you really think I'm your Nemesis, running around thwarting your grand acts of humanitarian kindness?

JAROD  
At first I wondered why you seem to have a personal vendetta against me. I know it wasn't personal—at first. You just wanted an escape.

MISS PARKER(now reflective)  
Daddy told me once if I caught you, I could leave…

brief FLASHBACK to the episode where Miss Parker asks Mr. Parker to let her go to corporate, and Mr. Parker telling her she can leave as soon as she catches Jarod.

Long pause.

JAROD  
And you wanted him to be proud of you.  
(he leans down, close to her face)  
I think the only difference between us is that your cynicism is a defense against…being hurt by others…  
(he turns his head and speaks softly in her ear)  
while I don't deny who I am inside, even if it means getting killed in the process.

MISS PARKER  
(his lips still at her ear)  
You have no idea who I am…_inside_.And you don't care that you've got me all wrong.  
(he draws back to search her face. she continues with rising fury)  
You thought what you did in the Centre was all just a façade…but you still live in a fantasy…thinking everyone is good _inside_. Just keep living in your fantasy world. People don't change.  
(she turns away)

Jarod quickly catches her arm and turns her to face him again.

JAROD  
(looking in her eyes, adamant about this)  
I agree—they don't normally change. That's why I know who you are underneath this anger. I've known you for too long to be fooled by your mask of incoherent rage against life.  
(he lets her arm go)  
Deep down, you're still the first friend I ever had…and I…am still the boy who…

He pauses as if pondering if she can take much more, then takes a step towards the door.

JAROD  
Someday I'll tell you what I really think—about everything—so you won't have to guess.

MISS PARKER  
What if I don't want to know?

JAROD  
(as he leaves the room)  
Oh, but you do want to know.

CUT SCENE

Morning. Broots is still stuck in the air vent. He's sleeping, and Angelo wakes him up.

BROOTS  
You're back! Help me!

ANGELO  
Let's go.

BROOTS  
I tried to tell you, I'm stuck. I can't move.

ANGELO  
Broots is in danger.

BROOTS  
Ya think?

ANGELO  
Everything is in danger.

BROOTS  
I've kinda figured that out.

ANGELO  
Sydney needs help.

BROOTS  
What? How can you think of Sydney at a time like this?

ANGELO  
He's in danger. Must tell Miss Parker.

BROOTS  
I'm telling you again, I can't tell Miss Parker anything. I'M STUCK.

ANGELO  
I'll tell Sydney.

BROOTS  
(relieved Angelo's finally had a good idea)  
Yes. yes! You go tell Sydney I'm stuck here.

ANGELO  
Tell Sydney he's in danger.

BROOTS  
(clutching Angelo)  
Wait…wait…tell him about me. ME!  
(Angelo leaves)  
Make sure you tell him! come and help me….  
(he groans)  
I'm dead.

CUT SCENE

Night. Jarod walks into Miss Parker's living room and surveys the shelves lining one of the walls. Miss Parker follows him.

JAROD  
Which of these are your mother's?

MISS PARKER  
All of them.

JAROD  
That's pleasant.

MISS PARKER  
Why?

Jarod takes a book down from the shelf.

JAROD  
What was in the file Broots found?

MISS PARKER  
(peeved)  
Why won't you answer my question?

JAROD  
Was it a number like this?  
(he holds up a book, and points to the barcode on the back)

MISS PARKER  
What if it was?

JAROD  
(smiles, breaking the questions game they have going)  
Then we're in business.

MISS PARKER  
(unsure)  
It _was_ that many numbers…

JAROD  
(examining another book)  
9880….it's not this one.

MISS PARKER  
Both of them are barcodes…but how do you know it's a barcode of a book?

JAROD  
(putting the book back)  
I've got a photographic memory, remember?

MISS PARKER  
(shaking her head)  
Actually I shouldn't even ask anymore _how_ you know these things.

JAROD  
(grinning now as he looks at her)  
It would save you a lot of time.

Miss Parker takes a book down from the shelf.

MISS PARKER  
It's in between the two numbers…

Jarod looks at her like he thinks she might be right.

JAROD  
Or Loraine didn't remember her number right.

MISS PARKER  
(still contemplating her mother)  
Why didn't she just write the right one though? And why did that annoying kid know the other one?

JAROD  
That kid's grandma—Loraine—worked in the Centre. From what I found out, she cleaned the offices at night, including your mother's. Either your mother told her to tell you the number, or she saw something she shouldn't have. I'm guessing she saw something. People always see things they're not supposed too at the Centre.

MISS PARKER  
Why didn't you just ask her how she got her information?

JAROD  
I met her when I was working in a retirement home. She's sick and can't remember things very well. Working for that place, I wonder whether her illness wasn't from natural causes.

MISS PARKER  
Yes, because the Centre takes care to make its former employees mentally ill.

JAROD  
I wouldn't doubt it.

MISS PARKER  
Whatever, Mr. Conspiracy Theory.

There is a growing pile of books on the floor that Miss Parker has looked at, and hasn't taken the trouble to put back. Jarod stops looking at the books, gathers up her pile, and starts putting them back exactly the way they were before.

MISS PARKER  
Hey! How will I know which books I've checked?

JAROD  
Just remember.

MISS PARKER  
You know, not everyone has a photographic memory.

JAROD  
(teasing)  
Right. I forgot. It's so hard being a genius.

MISS PARKER  
You're hilarious.  
(he finishes putting the books away)  
Done being obsessive compulsive now?

JAROD  
(points to the lowest shelf)  
Do this one.  
(she bends down and starts to take a book from the middle of the shelf)  
Left to right, so you remember.

MISS PARKER  
(sarcastic)  
Next you can teach me how to speed read.

JAROD  
978014044430891401, or something close to it…

They keep looking, and then Miss Parker takes a sharp breath.

MISS PARKER  
Oh my god…

Jarod bends down to her level, and looks over her shoulder to read the number. Miss Parker flips through the book, and upon finding nothing, looks perplexed. Jarod slips his right arm around hers as she's holding the book, opens the back cover, and lifts the dust jacket to reveal writing on the back of the jacket. It's an address, headed by the word 'Ruin'. Wide shot, as they are speechless for a few moments, contemplating what looks like another trail of breadcrumbs to follow. Jarod's hand brushes hers as he moves to see if there's anything else written.

JAROD  
oh…

Miss Parker, startled by the movement and exclamation, nearly loses her balance. Jarod takes her arm to steady her, and helps her stand up.

JAROD  
(embarassed)  
sorry.

MISS PARKER  
(sitting down on the couch, looking tired and drawn and surveying the bookshelf)  
I should've actually read these books. What if there's more hidden here somewhere…

JAROD  
If there's more you'll find it. I'll let myself out.

Miss Parker, after the strain of the last few sleepless nights, has closed her eyes while he's speaking. She doesn't make a sound. Jarod walks over to her, and lays a throw from the couch over her. Then he turns and leaves.

CUT SCENE

Morning. Sydney is in his office. Miss Parker stalks in, still looking drawn. Sydney looks up at her.

SYDNEY  
Long night again?

MISS PARKER  
I need to move and not tell anyone where I'm going.

SYDNEY  
Broots isn't here. Did he contact you last night?

MISS PARKER  
No.  
(massaging her neck)  
I fell asleep wrong.

SYDNEY  
So it wasn't Broots who was your nighttime visitor?

MISS PARKER  
No.  
(Sydney just looks at her knowingly)  
All right, it was Jarod…

Lyle walks into Sydney's office.

LYLE  
Sorry to interrupt your tête-à-tête.

MISS PARKER  
(sickly sweet)  
Not at all.

LYLE  
Sydney, I need to see you in my office.

MISS PARKER  
We're busy here.

LYLE  
(addressing Sydney)  
Pronto.

Sydney gets up and leaves with Lyle. Miss Parker waits a moment, then heads to Lyle's office a different way. She reaches Lyle's office, and ducts into the same office Broots went into earlier. She tries to hear what's going on in Lyle's office, but can't hear a thing.

MISS PARKER  
Shit .

BROOTS  
Miss Parker?

MISS PARKER  
Broots? Broots!  
(looking around)  
Where are you? In the wall?

BROOTS  
The air vent…  
(yelling)  
Get me out of here!

MISS PARKER  
(looking up at it)  
How in the hell?

BROOTS  
Don't talk, just help me…

CUT SCENE


	5. Chapter 5

MISS PARKER'S office. MISS PARKER is sitting with her elbows on her desk, and her head in her hands. The phone rings.

MISS PARKER  
(wearily)  
What?

JAROD  
Frustrated by the daily grind of work? I know, it's a tough job chasing me, but someone's got to do it.

MISS PARKER  
Cut the crap Jarod.  
(softly)  
Lyle is…

FLASHBACK

MISS PARKER  
Broots! What the hell are you doing in the vent?

BROOTS  
Just get me out of here!

Miss Parker gets the same chair (taken back to its earlier place at the desk by a cleaning lady) that Broots did, and climbs into the vent. She eventually sees Broots.

MISS PARKER  
I'm taking your pants off.

BROOTS  
What? Don't do that!

MISS PARKER  
You can't see this, but your belt is what's stuck.

BROOTS  
Oh. For a minute there...

MISS PARKER  
Get rid of those thoughts right now Broots or I'm leaving you to fester here until even the rats will get hungry enough to come eat you.

BROOTS  
(remembering something else)  
Miss Parker, Sydney...Lyle and Mr. Raines are planning to hurt Sydney.

Miss Parker gladly stops the process of taking off Broots's pants. Horror dawns on her face.

BROOTS  
Miss Parker? Where is Sydney?

MISS PARKER  
(coldly)  
Lyle has him...

END OF FLASHBACK

JAROD  
(concerned now)  
Miss Parker? Miss Parker!

MISS PARKER  
(snaps back to reality)  
Lyle is going to kill Sydney unless you agree to do something big. I don't know what it is. He and Raines have Sydney somewhere, locked up. I tried to stop them from taking Sydney.

JAROD  
They threatened you, didn't they?

(pause)

MISS PARKER  
I don't know what to do.

(longer pause)

Jarod?

JAROD  
This is what you're going to do.

CUT SCENE

Broots sidles down the hallway stiffly. He's looking for a particular room. He tensely puts his hand on the knob, and jiggles it. It opens. He looks surprised. Flat against the wall, he peers in, then steps in. His hand motions out of the door, and Miss Parker stalks down the hall and into the room.

MISS PARKER  
Don't go Mission: Impossible on me.

BROOTS  
Actually, it was more James Bond.

Miss Parker rolls her eyes.

MISS PARKER  
Just get to work on the surveillance system.

BROOTS  
I know you want to find out where they're keeping Sydney, but I don't understand how you're going to get him out of the Centre.

MISS PARKER  
Less talking, more typing. The less you know, the less you'll tell anyone when you get caught.

If Broots was nervous before, he's even worse now. He keeps typing though.

MISS PARKER  
(looking over his shoulder)  
There. SL-26.

She rushes out of the room. Broots stays seated.

BROOTS  
Now what do I do?

CUT SCENE

Jarod enters a house. This is the address Miss Parker and Jarod found in the book. He starts searching the rooms, convinced that he will finally find the answers to Ruin. He opens the door, and it is an empty room, with one large chair turned toward a single window. He moves toward the window, and his Mom stands up from the chair. He cries out and runs to her. They hug.

MOM  
Jarod!

JAROD  
How are you… Why are you…  
(for once speechless)

MOM  
This was our first home. When your sister was born. After that we moved because it was too small, but your father and I had many happy times here.

JAROD  
But why are you here now?

MOM  
(smiles)  
Your Dad found me. He told me you were looking into Ruin, so I came here knowing you'd eventually find this place.

JAROD  
(pulls away from her)  
He didn't tell me.

MOM  
You've been too busy searching for Ruin.

JAROD  
What's Ruin?

MOM  
You are.

Jarod is speechless again.

MOM  
It also involves Miss Parker.

Jarod looks slightly uncomfortable.

MOM  
Catherine said she always knew you two were connected.

JAROD  
In what way?  
(jokingly, to lighten the mood)  
I once named an alligator after her...

MOM  
(smiles)  
Not just in your game of cat and mouse. You're connected to her in a way you can't explain….yet.

Jarod now looks really uncomfortable.

FLASHBACK

CATHERINE  
I can't tell you how I know this, but…  
(she is reluctant to tell about the voices she hears)  
someone…told me Jarod will take care of Miss Parker if I don't get out of the Center alive.

MOM  
You will get out. You'll have the baby, and Miss Parker will be with you.

CATHERINE  
_If_ I don't get out, tell Jarod about Ruin.

END OF FLASHBACK

JAROD  
(softly)  
What's Ruin?

MOM  
It should be obvious by now.

Jarod says nothing. He turns to look out the window.

CUT SCENE

Miss Parker reaches SL-26. She knocks out the guard and hurries to where Sydney is being kept.

MISS PARKER  
(calls)  
Sydney!

SYDNEY  
Hello Miss Parker.

MISS PARKER  
I can't get Lyle to stop what he's doing to you.

SYDNEY  
Yes, I feel that this is what fish bait must feel like. If bait can feel anything, that is.

MISS PARKER  
Ok, before you go completely insane down here…  
(She gives him something.)  
I won't let him hurt you.

SYDNEY  
(astonished)  
How did you…

MISS PARKER  
Jarod.

CUT SCENE

Jarod's still looking out the window.

MOM  
Ruin was Catherine's plan to destroy the Centre. Completely. But only when you and Miss Parker were both ready to do it.  
(She waits for Jarod to say something, but he's silent. She sighs.)  
It's taken so long for both of you.

JAROD  
(suddenly)  
Miss Parker won't do it.  
(long pause)  
(faster)  
And I can't take care of her. She won't let me. The last time I tried to reach her, she…wouldn't listen.

FLASHBACK to Miss Parker's conversation with Jarod in the Limo before they go on the airplane in Island of the Haunted. END OF FLASHBACK Jarod looks pained remembering this.

MOM  
Don't give up on her.

JAROD  
(turning back to his mom)  
She never listens to me. No matter what I say.

MOM  
Some people can't be persuaded to do the right thing. They must confront evil with their own eyes, and then they will choose what is right.

JAROD  
Mom?  
(He tries to find the words, but fails.)

MOM  
I know.  
(pause)  
You've got to hope she does too.

They hug again.

MOM  
(whispers)  
When she is ready, she will let go of her past…and the centre.

CUT SCENE

Broots looks at his watch, then at the screen, and does a double-take. He had been looking at Sydney's cell, but now Sydney is not there! He reaches for the headset in his jacket pocket, puts it on, and calls frantically into it.

BROOTS  
Miss Parker! Miss Parker!

MISS PARKER  
(speaking into her earpiece)  
What?

BROOTS  
Sydney is gone!

MISS PARKER  
(annoyed)  
Of course he's gone, you idiot.

BROOTS  
(looking at the screen)  
Uh-oh.

MISS PARKER  
What?  
(nothing from Broots)  
So help me God Broots, someday I'm going to wring your scrawny little neck…

BROOTS  
(interrupting)  
It's not about Sydney this time. It's you. Lyle's coming straight towards you. And there's nowhere for you to hide.

CUT SCENE

Jarod is tinkering in his lair. He has connected his computer, and is tracking something—or someone. He hears a noise, and tilts his head to one side. He listens to the noise.

JAROD  
Right about…now.

There is a knock on his door. He jumps up and runs to the door, looks through the eyehole, and quickly opens the door for Sydney. Sydney looks haggard.

JAROD  
Are you ok?

SYDNEY  
Yes. I can't believe you're here, so close to the Center.

JAROD  
(smiles)  
This is just a temporary place. I had to be near to… something close by. (referring to his Mom)

Jarod takes some pills from the cupboard.

JAROD  
(As he hands them to Sydney)  
Here. You look tired. I know I was climbing through the Centre's air ducts.  
(He smirks)

SYDNEY  
Miss Parker…

JAROD  
(looking at Sydney's wristwatch, his smirk turning into a small bemused smile)  
She listened to me. For once.

Sydney catches Jarod's tone of voice and looks at him piercingly. He holds the pills and looks at them.

SYDNEY  
What's going to happen to her when they find out I'm gone?

CUT SCENE

SL-14  
Miss Parker is fastened to a chair. Lyle is nearby, working on something she can't see.

MISS PARKER  
(sarcastic)  
So, little brother…found out what his sister did…

LYLE  
(holds up object)  
This is truth serum. Tell me where Sydney is.

MISS PARKER  
(nearly spits the words out)  
Jarod took him…and don't you dare threaten me, you bast…

LYLE  
(interrupting)  
Where is Sydney?  
(He picks up another object)

MISS PARKER  
I don't know. I don't care.

LYLE  
(As he starts torturing her)  
Yes you do, dear sis.  
(He stops)

MISS PARKER  
(spitting out blood)  
Someday, you'll be the one in this chair. And I won't take the trouble to torture you before I kill you.

Lyle simply keeps torturing her.

LYLE  
Be brave sis. You can't loose consciousness like this when I contact Jarod.

MISS PARKER  
Don't call me sis. You're not my brother. You never were.

Lyle turns away to wipe off some blood.

MISS PARKER  
Why are you doing this? Jarod doesn't care if you torture me.  
(Laughing)  
Hell, he'd be glad you killed me.

LYLE  
Jarod might not care…  
(He resumes torturing her. She doesn't make a sound.)  
…but Sydney does.

CUT SCENE

Miss Parker's office. Next day. Broots feels relieved no one has found him—yet. He is jotting down on a piece of paper what questions Lyle will likely interrogate him with. On one side is a hastily scribbled out 'list of possible tortures', as it has proven too much for his frazzled nerves. From the length of the list he seems to have been contemplating this a long time. The phone rings and startles him.

BROOTS  
(nervously)  
Hello?

JAROD  
Broots? Where is Miss Parker?

BROOTS  
I don't know. I just locked myself in her office after Lyle took her. It's been horrible. She made me hack into the security system, and wouldn't tell me what she was going to do, and then Sydney was gone…Sydney disappeared!

JAROD  
I know.  
(He looks at his computer, and has an email)  
Just stay where you are for the moment Broots.

ominous music.

CUT SCENE

SL-14  
Lyle is with Miss Parker.

LYLE  
One thing I love about the Chinese—besides Wantons—is that they really know their instruments of torture.  
(He moves on to another table)  
But then, so do the Japanese. And the Spanish Inquisitors. And the Native Americans.  
(He pauses, clearly enjoying this)  
Need I go on?

He shifts the video to reveal Miss Parker, who watches Lyle with an apathetic look. A small stream of blood has dried down the side of her mouth. The scene shifts to where Jarod and Sydney are watching the video. Both look angry and hurt.

LYLE  
Sydney, if you're watching this with Jarod, please persuade him to meet me alone at the time and place given in my email. Otherwise I'll use more of these…instruments…on the  
(sarcastic)  
lovely Miss Parker.  
(He runs his hand up her thigh)  
And maybe do a bit more than that before I'm tired with her.

MISS PARKER  
Unbelievable. You have an Absolom complex.

Lyle raises his fist to hit her. He looks straight into the web camera.

LYLE  
She's making this fun, huh Jarod? Bet you wish you were here.

He starts to lower his fist, and the video ends.

JAROD  
(yells, very angry now)  
NO!

SYDNEY  
Jarod, she'll be ok.

JAROD  
(as he paces)  
I left her there. I didn't think this would happen. Why didn't I think this could happen?  
(He's almost crying now)  
I just left her there.

SYDNEY  
Lyle preys upon emotions.

JAROD  
I'm afraid he'll really hurt her.  
(he stops pacing)  
And I'm afraid of what that is making me want to do.

SYDNEY  
These feelings are buried very deep inside of you. You learnt to keep them hidden as a defense mechanism, to protect yourself and others.

JAROD  
Every time I care for someone—my Dad, my sister, my Mom—bad things happen to them.

SYDNEY  
(knowingly)  
But you care about Miss Parker in a different way than you care about your family.

Jarod looks at Sydney, then sits down and puts his hands on his head, mirroring what Miss Parker did before. Camera slowly pans away from him to encompass the whole room, as both Sydney and Jarod remain motionless.

CUT SCENE

Day. JAROD runs through sublevel 14, looking for MISS PARKER. He looks at cells on both his left and right. Something dark catches the corner of his eye. He turns to his left, and there in the far corner (diagonal to him) hidden between the end of the bed and the wall is MISS PARKER. She is unconscious, curled up on her side. Her normally spotless black suit is dirty, as is her face and hair. She has no shoes on. JAROD breaks into the cell, and rushes over to her.

JAROD  
(bending over Miss Parker, and touching her arm)  
Miss Parker?  
(increasingly frantic)  
Miss Parker…Miss Parker!

He looks and sees she is handcuffed to the end of the bed.

JAROD  
What has he done to you?

His holds her left hand in his right, and pulls up her other sleeve with his left hand. There are bruises all up her forearm, and cuts, and some hideous looking spots which look like burns.

JAROD  
(crying, looking at her arm)  
He hurt you.  
(He begins to pick the lock of her handcuff, tears streaming down his face)  
I'm going to kill him.

MISS PARKER  
(almost moaning)  
No…I'm going to kill him.

JAROD  
(so happy she is conscious now, but still crying)  
It's going to be ok.

MISS PARKER  
(weakly)  
Why are you…

JAROD  
Shhh….Almost there…  
(undoes handcuffs)

He gathers her up so she can walk out. He looks at her like he wants to kiss away all her hurts. She suddenly realizes this too, and there's a highly intense moment. Her face goes white, and then she's unconscious again. He tenderly picks her up in his arms and rushes out of the cell.

END OF EPISODE

Author's note: This is the end of the first movie. The next movie will continue in chapter 6.


End file.
